By Thomas Harrison
The 12 months 1910 marks an spectacular, and mostly unrecognized, juncture in Western background. during this perceptive interdisciplinary research, Thomas Harrison addresses the intense highbrow fulfillment of the time. targeting the cultural weather of center Europe and paying specific cognizance to the existence and paintings of Carlo Michelstaedter, he deftly portrays the reciprocal implications of alternative discourses--philosophy, literature, sociology, tune, and portray. His fantastically balanced and deeply trained research presents a brand new, wider, and extra formidable definition of expressionism and indicates the importance of this flow in shaping the inventive and highbrow temper of the age.1910 probes the recurrent topics and obsessions within the paintings of intellectuals as various as Egon Schiele, Georg Trakl, Vasily Kandinsky, Georg Luk?cs, Georg Simmel, Dino Campana, and Arnold Schoenberg. including Michelstaedter, who devoted suicide in 1910 on the age of 23, those thinkers shared the basic issues of expressionism: a feeling of irresolvable clash in human life, the philosophical prestige of dying, and a quest for the character of human subjectivity. Expressionism, Harrison argues provocatively, used to be a final, determined try through the intelligentsia to protect the most venerable assumptions of eu tradition. This ideological desperation, he claims, used to be greater than a religious prelude to international conflict I: it was once an unheeded, prophetic critique.
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Additional resources for 1910: The Emancipation of Dissonance
On the other side of the divide stand defenders of hard and practical knowledge. One group, meeting for the first time in a Viennese café in 1910, achieves fame under the rubric of neopositivists or logical empiricists (Otto Neurath, Philipp Frank, and Hans Hahn). Another, composed of historical materialists, makes its classic attack on idealism and "impressionistic" philosophers in Vladimir Lenin's Materialism and Empirio-criticism (1909). Others include behaviorists, experimental psychologists, sociologists, and psychoanalysts, though each group will have its defectors (Carl Jung, for one).
A similar paradox can be found in Georg Lukács's Soul and Form, which sets itself the task of understanding how "soul"—the very antagonist of all shifting, deceptive, historical forms—can only be expressed in form. The last essay of his collection makes the paradox clear: The basis for the formal realization of experience is tragic disunity. If mysticism lies in "suffering the All," or in dissolving one's "identity" into the outer, objective world, then tragic experience lies in "creating" the All (Lukács 1910–11a: 160).
A weight hangs on a hook and in hanging suffers that it cannot descend: it cannot get off the hook for, being a weight, it pends and in pending depends. —But it is not happy to stop at any spot that it reaches and would like to keep descending, for the next ― 71 ― spot is even lower than the one it occupies at any moment. And no future spot will ever be one that will please it and be necessary to its life, so long as a lower one awaits it . . — For if everything were finished at a given point, and if at a single point it could possess the infinite descent of the infinite future—at that point it would no longer be what it is: a weight .
1910: The Emancipation of Dissonance by Thomas Harrison